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Mental processes are filters which intervene in the literary presentation of nature. This article will take you on a journey through literary landscapes, starting from Joseph Furphy and end-ing with Gerald Murnane. It will try to show the development of Australian literary landscape depiction. The investigation of this extensive topic will show that the perception of the Aus-tralian landscape as foreign and threatening is a coded expression of the protagonists" crisis of identity due to their estrangement from European cultural roots. Only a feeling of being at home enables the characters to perceive landscapes in a positive way and allows the author to depict intimate and familiar views of nature. This topic will be investigated with a range of novels to reveal the development of this theme from the turn of the nineteenth century (the time of Furphy- novel Such is Life) up to the present (i.e. novels by Malouf, Foster, Hall, Murnane).
This study scrutinizes press photographs published during the first 6 weeks of the Russian War in Ukraine, beginning February 24th, 2022. Its objective is to shed light on the emotions evoked in Internet-savvy audiences. This empirical research aims to contribute to the understanding of emotional media effects that shape attitudes and actions of ordinary citizens. Main research questions are: What kind of empathic reactions are observed during the Q-sort study? Which visual patterns are relevant for which emotional evaluations and attributions? The assumption is that the evaluations and attributions of empathy are not random, but follow specific patterns. The empathic reactions are based on visual patterns which, in turn, influence the type of empathic reaction. The identification of specific categories for visual and emotional reaction patterns are arrived at in different methodological processes. Visual pattern categories were developed inductively, using the art history method of iconography-iconology to identify six distinct types of visual motifs in a final sample of 33 war photographs. The overarching categories for empathic reactions—empty empathy, vicarious traumatization and witnessing—were applied deductively, building on E. Ann Kaplan's pivotal distinctions. The main result of this research are three novel categories that combine visual patterns with empathic reaction patterns. The labels for these categories are a direct result of the Q-factorial analysis, interpreted through the lense of iconography-iconology. An exploratory nine-scale forced-choice Q-sort study (Nstimuli = 33) was implemented, followed by self-report interviews with a total of 25 participants [F = 16 (64%), M = 9 (36%), Mage = 26.4 years]. Results from this exploratory research include motivational statements on the meanings of war photography from semi-structured post-sort-interviews. The major result of this study are three types of visual patterns (“factors”) that govern distinct empathic reactions in participants: Factor 1 is “veiled empathy” with highest empathy being attributed to photos showing victims whose corpses or faces were veiled. Additional features of “veiled empathy” are a strong anti-politician bias and a heightened awareness of potential visual manipulation. Factor 2 is “mirrored empathy” with highest empathy attributions to photos displaying human suffering openly. Factor 3 focused on the context. It showed a proclivity for documentary style photography. This pattern ranked photos without clear contextualization lower in empathy than those photos displaying the fully contextualized setting. To the best of our knowledge, no study has tested empathic reactions to war photography empirically. In this respect, the study is novel, but also exploratory. Findings like the three patterns of visual empathy might be helpful for photo selection processes in journalism, for political decision-making, for the promotion of relief efforts, and for coping strategies in civil society to deal with the potentially numbing or traumatizing visual legacy of the War in Ukraine.
Stress position in English words is well-known to correlate with both their morphological properties and their phonological organisation in terms of non-segmental, prosodic categories like syllable structure. While two generalisations capturing this correlation, directionality and stratification, are well established, the exact nature of the interaction of phonological and morphological factors in English stress assignment is a much debated issue in the literature. The present study investigates if and how directionality and stratification effects in English can be learned by means of Naive Discriminative Learning, a computational model that is trained using error-driven learning and that does not make any a-priori assumptions about the higher-level phonological organisation and morphological structure of words. Based on a series of simulation studies we show that neither directionality nor stratification need to be stipulated as a-priori properties of words or constraints in the lexicon. Stress can be learned solely on the basis of very flat word representations. Morphological stratification emerges as an effect of the model learning that informativity with regard to stress position is unevenly distributed across all trigrams constituting a word. Morphological affix classes like stress-preserving and stress-shifting affixes are, hence, not predefined classes but sets of trigrams that have similar informativity values with regard to stress position. Directionality, by contrast, emerges as spurious in our simulations; no syllable counting or recourse to abstract prosodic representations seems to be necessary to learn stress position in English.